THE MEANING OF MONASTIC ROBES

The dhonka has much historical significance.
It was created in the time of Tsong Khapa, in the 14th century; before
then, monks dressed in the Indian Hinayana style, with nothing much on the
upper part of the body. Tibet is very cold, though, so they created this
upper garment.

It is made of maroon and yellow cloth, sometimes all maroon. The two
shoulders represent the lion's mane. The lion is the king of beasts who
has no fear of other beings, remaining relaxed and peaceful. The same with
anyone following Vinaya: they do not need to fear being born in suffering
rebirths; they are on the path of emancipation.

The blue piping around the sleeve is also
historically important. In the 9th century, King Langdarma assassinated his
younger brother, who was king before him and who developed Buddhism. Langdarma
ruled for many years and tried to wipe out Buddhism. It was the worst situation
in Tibet until the Chinese in 1959.

The Buddha's rules of discipline, the Vinaya, were almost wiped out. Three
monks escaped to Amdo, near the Chinese border, and they wanted to revive the
Vinaya rule by giving ordination to someone. There have to be five fully
ordained monks, however, so they invited two Chinese monks to join them. At the
time, Chinese monks always wore some blue garments, so this blue string is a
reminder of them.

Under the arms, in the back, the cut of the cloth looks like two elephant
tusks. This represents the lord of death, so we are always reminded of the
impermanence of life. We are sitting in the jaws of death.

The shemdap is made of patches and is maroon. Originally, you
would cut up the cloth into different pieces and then sew it together; now
we simply sew it so it looks patched. As His Holiness said once, "It's not
of good quality, and it's patched. If it was of good material and in one
piece, your could sell it and gain something. This way you can't. This
reinforces our philosophy of becoming detached from worldly goods."

The folds in the robes (at least in the Gelug lineage) have
particular significance. The fold on the right side turn towards the back,
which symbolizes that the monk or nun has left behind worldly concerns and
activities, as well as following negative actions. The folds on the left
turn towards the front, symbolic of following the Buddhist path and
virtuous activities--the purpose is to go towards that. Monastics should
always remember this when they put on their robes.

I'm not sure how it is in other traditions; sometimes they have the folds all
towards the back. These folds are specific to the Tibetans, as the Indian robes
use less cloth, so technically these folds aren't part of the Vinaya system.
Also, the three folds in front sometimes symbolize different sayings, like
Refuge in the Buddha, Dharma and Sangha and the three Principles of the Path,
but overall these three folds make it easier to sit down.

The chögu is yellow and is usually worn during
confession ceremony and teachings. It is similar to the Hinayana robe. It
is also made of many pieces.

For day-to-day life, monks and nuns don't wear the chögu; they wear
the zen, which is maroon, the same as the shemdap.

The namjar is also yellow and is bigger than the
chögu. It is for special occasions, such as ordinations. His Holiness sometimes
wears the namjar for initiations and certain ceremonies. It has more patches
than the chögu, and sometimes, in Tibet, it was made of silk.

The dingwa is made of wool and is put on top of your cushion.
Monks and nuns are supposed to always take it with them. Nowadays it's not
used much, only for teachings and ceremonies. If you visit someone, you
would sit on it so that it protects the person's seat from damage: if you
spill something, for example, it's your own cloth that gets damaged.

The hat is worn during special ceremonies. The bottom part is
yellow and has the handle in the back with two handles. Inside is white,
symbolic of Chenrezig, the Buddha of Compassion; the handle inside is
blue, symbolic of Vajrapani, the Buddha of Power; and the handle outside
is reddish orange and symbolizes Manjushri, the Buddha of Wisdom. The many
threads standing upright represent the thousand Buddhas of this age on top
of your head. The yellow represents the purity of the teachings, similar
to how gold is considered pure and free of stains.

This article was reprinted from the Special Edition of
MANDALA Magazine
in celebration of
The Monlam Chenmo Great Prayer Festival in
Washington DC, July 2nd, 2000